The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away. Collectors have sought 'these priceless chapbooks', but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

This book investigates what it is that makes John Clare’s poetic vision so unique, and asks how we use Clare for contemporary ends. It explores much of the criticism that has appeared in response to his life and work, and asks hard questions about the modes and motivations of critics and editors. Clare is increasingly regarded as having been an environmentalist long before the word appeared; this book investigates whether this ‘green’ rush to place him as a radical proto-ecologist does any disservice to his complex positions in relation to social class, work, agriculture, poverty and women. This book attempts to unlock Clare’s own theorisations and practices of what we might now call an ‘ecological consciousness’, and works out how his ‘ecocentric’ mode might relate to that of other Romantic poets. Finally, this book asks how we might treat Clare as our contemporary while still being attentive to the peculiarities of his unique historical circumstances.